Written by: Elodie Vidal (@ElodieVidal)
Barons Court Theatre, London
**
Granddads are amazing. They might
have been war heroes and freedom fighters, but stealing the guests’ biscuits
off the table is still on their list of priorities. It’s that particular
fondness reserved for elderly men, laced with respect and innocent fun, that The Tailors’ Last Stand captures,
telling the tale of four eighty-something communists having their last trade
union meeting in an endearing and light fringe production.
The play goes off to a bad start,
but lands back on its feet. Edmund Dehn makes a stiff entrance as Max, his
uncertain performance adding to the audience’s discomfort at sitting in the
crammed, musty-smelling space of the Barons Court. The introduction of his
co-stars, however, soon loosens his act and establishes a homey style of comedy
that will accompany the audience throughout the piece. As Max and his three
comrades bicker, reminisce, and complain to each other about their various
ailments, spectators recognise themselves or their relatives, and look on the
action with tender self-deprecation.
The scenery itself grows on you.
Cleo Harris-Seaton’s design comes across as frugal at first, the coffee table seeming
too rickety and the seat cushions too worn out, but together with the paper
plates and mismatched tea cups that make up the props, they become a very faithful
rendition of a communist meeting hall. Director Harry Saks adapts his work to
the space, using the thrust configuration and intimate setting to comic or
dramatic effect. Of particular note is the hanging of the union’s banner, which
both introduces the all-important National Union of Tailors and Garment Workers
and delights the audience by having Edmund Dehn and Richard Ward (Tom) go
around in circles in a clumsy attempt at manoeuvring.
If the play’s composing elements
all abandon themselves to the action, the company appears reluctant to follow
suit. The four actors lean so much on the stage directions as to make the
blocking apparent. Richard Ward seems to be the only one allowing himself
individual acting decisions, and Terry Jermyn and Tony Parkin’s performances as
George and Barney border on the mechanical. In any case, Ian Buckley’s wonderful
text amply compensates for any disagreement over acting choices, keeping the
four men believable and relatable. His series of granddad jokes makes them
lovable (“Is there a doctor in your family? –No. My granddaughter is a teacher.
– Perfect, they’re the best! – The best at what? – Pretending to be doctors!”),
while the story of the long lost Rose fleshes them out, granting the audience a
glimpse into a painful and complex past.
In the end, there is no better
description of The Tailors’ Last Stand
than the one provided by its writer. “It’s about my father”, says Ian Buckley,
all the warmth of his piece reflected in his face. And that’s the bottom line –
the play feels like an act of filial love.
It is an affectionate, heartfelt effort at giving a voice to a loved
one, giving a voice to all elderly idealists in the process.
This production runs until 10 March 2013.
For more information: http://ianbuckley.info/about/tailors.html
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